Constructive drawing of a still life of geometric bodies:
Work on proportional relationships of still life objects Automatic translate

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Work on proportional relationships of still life objects

Clarify the proportional relationship between the width and height of the accumulated mass on the sheet, comparing them with nature, and make sure that this does not change the compositional solution for the worse. To do this, use the method of visual measurement with a pencil. In this method, the side of the pencil is used as a measuring tool, on it you can visually fix the values ​​of still life objects and compare them with each other. Then also take measurements in your drawing and find out the presence of proportional correspondence with nature.

For measurements to be accurate, you should always hold the pencil only on outstretched hands and never use short pencils. Having found the proportional ratio of the height to the width of the mass of the still life, we obtain two proportional segments. These will be your first correct sizes, and all subsequent sizes should only relate to them.

Again, in light lines, find proportional, harmonious relations between objects and the compositional mass as a whole, as if isolating smaller ones from the larger mass. If there are bodies of revolution in the still life (such as a ball, cylinder, cone), find the positions of their axes.

Harmony (harmonia) - harmony, harmony. This is harmony, harmony in the composition between the parts that we compose and combine. In ancient aesthetic culture, it is a measure of all things, an ideal that a person should strive for in his work. How do the parts of a harmonious whole in the composition fit together? In proportion, and in a logical ratio. This law is called the "Law of the Golden Ratio": ABBC = ACAB.

Proportion (proportio) - ratio, proportionality. The ratio of the sizes of an individual element and the entire work as a whole.

Please note that the first harmonious proportional relationships of the “golden section” were found between the sheet space and the mass of the still life located in the sheet space (when we were still working on the composition). As we move in the drawing, we will constantly encounter the proportions of the “golden section” and comprehend why these relationships are so pleasing to our eye.